The Agony and the Ecstasy (1965) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error The Agony and the Ecstasy ( 1965 ) Approved | The biographical story of Michelangelo's troubles while painting the Sistine Chapel at the urging of Pope Julius II.

Director: Carol Reed Writers: Irving Stone (based on the novel: "The Agony and the Ecstasy" by), Philip Dunne (screen story and screenplay) Stars: From $2.99 (SD) on Amazon Video ON DISC a list of 37 titles created 16 Oct 2012 a list of 45 titles created 28 Feb 2013 a list of 28 titles created 27 Nov 2013 a list of 48 titles created 15 Dec 2014 a list of 35 titles created 25 Feb 2015 Title: The Agony and the Ecstasy (1965) 7.2/10 Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. Nominated for 5 Oscars. Another 3 wins & 4 nominations. See more awards » Videos Edit Storyline Pope Julius is eager to leave behind works by which he will be remembered. To this end he cajoles Michelangelo into painting the ceiling of the Sistine Chapel.

When not on the battlefield uniting Italy, the Pope nags Michelangelo to speed up his painful work on the frescoes. Written by Ed Stephan <stephan@cc.wwu.edu> See All (84) » Taglines: A raging era of titans, popes and princes... of conspiracy and conflict... of turmoil and transgressions... of a man among men... of magnificence! See more » Genres: 7 October 1965 (USA) See more » Also Known As: Irving Stone's The Agony and the Ecstasy See more » Filming Locations: 70 mm 6-Track (Westrex Recording System) (70 mm prints)| Mono (35 mm prints) Color: Did You Know? Trivia Cardinal Giovanni de Medici succeeded to the papacy after the death of Julius II in 1513, becoming Pope Leo X, the first of four Medici popes. See more » Goofs Giovanni de' Medici (Pope Leo X) is portrayed in this movie as an older man in this film, however he was only in his 30s when the Sistine Chapel ceiling was painted and only 37 when elected Pope.

See more » Quotes Raphael : For what is an artist in this world but a servant, a lackey for the rich and powerful? Before we even begin to work, to feed this craving of ours, we must find a patron, a rich man of affairs, or a merchant, or a prince or... a Pope. We must bow, fawn, kiss hands to be able to do the things we must do or die. [chuckles] Raphael : We are harlots always peddling beauty at the doorsteps of the mighty. Michelangelo : If it comes to that, I won't be an artist. Raphael : [scoffs] You'll always be an artist. You have no choice. (Buffalo, New York) – See all my reviews The Agony and the Ecstasy is the story of the creation of the Sistine Chapel Roof painting, the time and money it took while Pope Julius II was busy establishing his Papacy as a political force. Back in those days the Pope was far more than the head of the Roman Catholic Church. He ruled a considerable piece of real estate in the center of the Italian peninsula that were called the Papal States.

They varied in geographic size depending on how relatively strong the Pope or his enemies were at a given time. The Papal States were the last independent entity to join a united Italy in 1870. The Borgias had been nibbling away at the Papal States for years and their triumph became complete when one of their's became Pope Alexander VI in 1491. When Giuliano Della Rovere became Julius II in 1503 succeeding Alexander VI he had it in mind to reclaim the states from the Borgias and their backer the French monarchy. Those are the folks you see Rex Harrison fighting at the beginning of the film. In fact Harrison's identity as the warrior Pope is made clear right at the beginning of the film when after we see this figure on a white horse killing some foes in battle, he takes off his helmet and some attendees put his papal vestments right over his armor. But Julius II wanted to be known as a patron of the arts as well as the warrior Pope. His uncle Pope Sixtus VI had built the Sistine Chapel which is today the personal chapel of the papal residence. According to Wikipedia its dimensions are exactly what the Bible lays down as the dimensions King Solomon built his temple.

But who knows what Solomon had decorating his roof. It's a big bare spot and who to fill it with something good. Julius II decided on Michelangelo Buonarrati who's got quite a resume of creativity to recommend him even though it's mostly sculpture. The film is the story of the creative differences between Michelangelo and Julius. Michelangelo is knowing he's created something for the ages, but he won't see the big picture of the here and now of Renaissance European politics which Julius II has to deal with. Sir Carol Reed directed The Agony and the Ecstasy and does a marvelous job of creating the look and atmosphere of the Renaissance in Italy. Charlton Heston and Rex Harrison playing Michelangelo and the Pope give outstanding performances. If the film has a weakness is that it really is a two man show with no other characters developed in any way. The rest of the mostly Italian cast just serve as a crowd. If you're either a patron of the arts or a Catholic who would like to know how the Sistine Chapel acquired its legendary roof than by all means see The Agony and the Ecstasy. 23 of 30 people found this review helpful. Was this review helpful to you?

Yes ‎The Agony and the Ecstasy (1965) directed by Carol Reed • Reviews, film + cast • Letterboxd 1 gorgeously photographed but very dry, somewhat stodgy 60s-studio-epic treatment of artistic obsession and integrity and the intrinsic conflict between artist and patron. you can extrapolate a lot from an early microcosmic meta-moment: Heston as Michelangelo slaps a proud hand on a massive slab of marble and says "Look. Moses. Moses down from Sinai, God's anger in his eyes." and the dude that's basically holding the purse-strings says with a bit of an eyeroll, "In the mind of Michelangelo." Review by Rei ★★★½ I picked this up randomly, never having heard of it before and having no idea what to expect - but I really liked it. A lot of it is cheesy and over the top, and some of the acting is weak. But it was entertaining and a few of the scenes were gripping and I think hit the mark dead on. I think visually it was stunning as well, the Sistine Chapel is so fucking beautiful and seeing it take shape before your eyes was really fascinating.

There were a couple shots of Michelangelo painting where we zoom in on his face and it's covered in paint and he looks so miserable but ecstatic? Definitely worth a watch. Review by Krunić ★★★ An excellent if not very true portrayal of Michelangelo Buonarroti and his struggles to paint the Sistine Chapel in Rome. Rex Harrison is fun to watch as a "Warrior Pope" Julius II, and Heston bare-chested and bigger than life as Michelangelo is not only entertaining but somewhat magnificent. His acting was never his stronger suit but he bears enough charisma and sheer willpower to simply make you believe him. The movie itself was shot in Rome and locations around Italy and it shows in beautiful landscapes and city architecture. Something that would be done by CGI today. And run the feel of the picture. The feature does last 144 minutes, and is one of the shorter Heston epics out there.

Review by Not Pauline Kael There is a dreadful discrepancy between Michelangelo's works and the words put in the mouth of Charlton Heston, who represents him here, and this picture-which is mostly about a prolonged wrangle between the sculptor and Pope Julius II (Rex Harrison), who keeps sweeping into the Sistine Chapel and barking, "When will you make an end of it?"-isn't believable for an instant. It was a terrible fiasco for all concerned-the financiers as well as the artists. Carol Reed directed, from Philip Dunne's lugubrious adaptation of the massive Irving Stone best-seller. With Diane Cilento and Harry Andrews. Released by 20th Century-Fox. Review by Rei ★★★½ I picked this up randomly, never having heard of it before and having no idea what to expect - but I really liked it. A lot of it is cheesy and over the top, and some of the acting is weak. But it was entertaining and a few of the scenes were gripping and I think hit the mark dead on. I think visually it was stunning as well, the Sistine Chapel is so fucking beautiful and seeing it take shape before your eyes was really fascinating.

There were a couple shots of Michelangelo painting where we zoom in on his face and it's covered in paint and he looks so miserable but ecstatic? Definitely worth a watch. View All Photos (1) Movie Info Adapted by Philip Dunne from the novel by Irving Stone, The Agony and the Ecstacy is the story of the 16th century war of wills between Renaissance artist Michelangelo (Charlton Heston) and "warrior pope" Julius II (Rex Harrison). Commissioned to paint a religious fresco on the ceiling of the Sistine Chapel, the independent-minded Michelangelo balks at the assignment. He is virtually strongarmed into accepting the job by Pope Julius, who wants to leave something for future generations to remember him by. Director Carol Reed deftly juggles screen time between the Pope's activities on the battlefield and Michelangelo's slow, arduous completion of his monumental task. The film also gingerly approaches the subject of Michelangelo's sexual orientation vis-a-vis his relationship with the Contessina de Medici (Diane Cilento).

Too long and limited in subject matter to score at the box office, The Agony and the Ecstacy holds up pretty well when seen today, especially when viewed in a wide-screen print. ~ Hal Erickson, Rovi Rating: "The Agony and the Ecstasy" Movie Review Starring: Charlton Heston, Rex Harrison, Diane Cilento Running Time: 2 hours, 19 minutes Theatrical Release Date: October 7, 1965 Blu-Ray Release Date: March 4, 2014 ( Amazon.com ) Plot Summary Now, for the first time, the acclaimed epic starring Oscar� Winners Charlton Heston and Rex Harrison is available on Blu-ray! Despite the grueling physical demands involved, renowned Renaissance artist Michelangelo (Heston) spends more than four years creating the Sistine Chapel's spectacular ceiling fresco. All the while, he questions his own religious views and battles with the man who commissioned him, Pope Julius II (Harrison). (from 20th Century Fox Studio Classics) Film Review Anyone who's spent any time studying history, especially art history, is familiar with the works of Michelangelo.

He was an accomplished sculptor who is most known for his statue of David, but most impressively, painting the ceiling of the Sistine Chapel in Italy. The 1965 film The Agony and the Ecstasy put acclaimed actor Charlton Heston in the role of the sculptor who was reluctantly commissioned by Pope Julius II to paint the ceiling. Rex Harrison starred opposite Heston as the Pope in this historical drama. Heston was no stranger to historical films. In 1956, he played Moses in The Ten Commandments, and in 1959, Heston played the leading role in Ben-Hur. It seemed no stretch to have Heston play Michelangelo, and he proved up to the challenge for what would end up being a pretty physically demanding role. Pope Julius II is ruthless and far from what one would expect a church leader to be. He was tyrannical in his rule of the church and one who was feared for his power to sentence anyone who opposed him to death. Michelangelo had no choice but to accept the Pope's commission to paint the Sistine ceiling, something he never wanted to do from the beginning, as he considered himself a sculptor first and foremost.

Rex Harrison (who I'd recently seen in the 1947 classic The Ghost and Mrs. Muir via NetFlix) plays the Pope with a strength and charisma that helps you to hate him but want to like him at the same time. It works well for the story, and Heston and Harrison's scenes together are some of the best moments in The Agony and the Ecstasy. The Sistine Chapel artwork is truly breathtaking, and the story told in The Agony and the Ecstasy really bring some added depth and humanity to a project that seems nearly impossible to have been created by the human hand. The same could probably be said for the architecture and sculptures of the time period as well, but the Sistine paintings are quite exquisite. The Agony and the Ecstasy sets out to not only highlight Michelangelo's painting but also his legacy outside of the story of the film. One of the strangest aspects of the movie is that it opens in modern day times in the mid 60s as a sort of documentary to highlight the various sculptures that Michelangelo created throughout his lifetime.

A narrator gushes about the various works of the scupltor and, oddly enough, this makes up the first 12 and a half minutes of the film. Once it concludes, the actual film starts and we're introduced to Michelangelo's day via a battlefield in Italy. While the intro is educational and it brings to the forefront the true passion of Michelangelo's artistic pursuits, it just feels like a poor storytelling device. The other, albeit minor, problem the film has is in its pacing. While the story is overall interesting and engaging -- thanks mostly due to solid acting and a fantastic depiction of the process of painting the ceiling -- the two-plus-hour running time does feel a little long at times. The painting of the Chapel makes up most of the film, with only a little bit of the character of Michelangelo being focused on in between. The film has an interesting juxtaposition of spirituality within the church. The movie portrays Michelangelo as being very flawed and worldly, but still having a sincere reverence for God that inspires him to paint the designs on the ceiling.

Arguably one of the best scenes in the film involves the Pope marveling at Michelangelo's work as it challenges his own personal view of who God is and who man is in relation to it. [According to the film] Michelangelo sought to show how man was created in God's likeness and sought to paint it as gracefully as possible, and this beauty sends the Pope's mind reeling. It brings some forth great food for thought, too, with the harshness and cruelty of the way the Pope rules pitted against the love and grace Michelangelo sees in his God. The movie's content is relatively tame, but it'd be a hard PG or a light PG-13 today. We see quite of bit of Renaissance style male and female nudity in all of Michelangelo's work -- from the statues to paintings, but it's never done in a sensual manner. One scene even has Cardinals who visit the Sistine crying blasphemy over Michelangelo painting the nude imagery on the church ceiling. Another theme has a married woman expressing her affections for Michelangelo (and she even kisses him), but he admits to having once loved her and now being too engrossed in his art to even think about love.

And another scene, when the Pope's men go looking for Michelangelo, shows them bursting into a brothel on a woman with just a bed sheet around her as they interrogate her. She laughs off the idea of Michelangelo being there (but she says he hasn't been there "in years," hinting that he previously had visited her) and we see a man hiding behind a door who had been there with her. Finally, there are some brief battle scenes that show blood on some miscellaneous characters' hands and bandages, but nothing detailed or graphic (it literally looks just painted on). The Agony and the Ecstasy makes its blu-ray, high definition debut here and it's given a really impressive and colorful transfer. I can't say it's quite as good as, say, the Ben-Hur transfer, but it's still quite vibrant. If you are a fan or are planning on watching it at some point, definitely pick up the blu-ray release. The Agony and the Ecstasy is a good, but not perfect, historical drama that tells a great story about one of history's greatest artists. The spiritual aspects of the story present some great topics for discussion and illustrate how corrupt the church was back in the days of Michelangelo.

Fans of Heston, Harrison, old films, and art would especially enjoy this one. The Agony and the Ecstasy Reviews & Ratings - IMDb IMDb 33 out of 39 people found the following review useful: A proof of faith and a battle of wills... 3 January 2000 *** This review may contain spoilers *** Charlton Heston is very good as Michelangelo Buonarotti, the Florentine painter, sculptor, architect and poet, one of the greatest and most versatile artists of the Renaissance who exerted an extraordinary influence on Western art... The story - based on the Irving Stone best-seller - tells of that period during Michelangelo's life when he painted the ceiling of the Sistine Chapel... Rex Harrison portrays the sprightly Pope Julius II, the greatest art patron of the papal line and one of the most powerful rulers of his age, who led military efforts to prevent French domination of Italy and as a politician and patron of the arts, he shove for a synthesis of church and state, of spirit and culture, with a grandeur unequaled by succeeding popes... His name is closely linked with those of great artists such Bramante, Raphael and Michelangelo...

With his wealth of visionary ideas, he contributed to their creativity... Although he had little of the priest in him, he was concerned - toward the end - only with the church's grandeur... He wished for greatness for the papacy rather than for the pope, and for peace in Italy... The film shows the extraordinary violent temper of the Pope, his lost of his self-control and his rude behavior towards the Florentine when he shouts: 'He will paint it or he will hang!' But, in one scene, he explains to Michelangelo his reasons: 'If I had not become a conqueror, there would be no church, no pontiff, no hope for peace for mankind and, I might add, no patrons for sculpture, painting, and architecture.' "The Agony and the Ecstasy" is a proof of faith and a battle of wills... The pope continually asks Michelangelo: 'When you will make an end of it?' and the answer of Buonarotti is invariably the same: 'When I'm finished!' But despite these recurrent strains imposed on their relations by the two overly similar personalities, their relationship is so close that the Pope becomes, in fact, Michelangelo's intellectual collaborator...

The paintings are in form and conception, a product of the artistic symbiosis of two towering figures of the 16th Century-Italy... Two breathtaking moments of the motion picture are to be mention: The 'Inspiration' scene where the clouds were forming the focal points of Michelangelo's Frescos; and the great sequence of meditation between the Pope and Buonarotti in front of the creation panel... The supporting cast include: Harry Andrews playing the Italian architect of the Renaissance Bramante; Tomas Milian as Raphael, the master of the Italian High Renaissance style; and Diane Cilento as Contessina Medici, the woman who drives Michelangelo to search his heart for important paths of activity... The film - an ecstasy for those who love and appreciate great art and powerful work - is a huge spectacle, a rich dramatization, moving and fascinating... The picture ends by another commission of the Pope to Michelangelo, another huge work, full of swirling figures and terrible images of despair, the powerful fresco: 'The Last Judgment', the ceiling behind the high altar...

Michelangelo's continuous argument is heard: 'I still say painting is not my trade!' and, obviously, the Pope response: 'To work, my son!' And what a huge work Michelangelo left... A breve documentary demonstrates before the beginning of the motion picture: The Pieta of St. Peter's; The Colossal David; and The Moses. Pope John Paul II led a ceremony December ll, 1999 celebrating the completion of the two-decade restoration of the Sistine Chapel... Speaking haltingly, he said: 'This place dear to the world's faithful not only for the masterpieces it contains but also because of the role it plays in the life of the Church.' Was the above review useful to you? 29 out of 33 people found the following review useful: Battle of Wills Between Michelangelo and Pope Julius--Fascinating Author: silverscreen888 1 July 2005 This is a fascinating, colorful and very-well made film that looks like an epic and is in fact an intelligent drama about sculptor-painter- architect-poet Michelangelo Buonarrotti.

Here portrayed by the much taller Charlton Heston, and admirably, he is presented as a man who want only to create beauty, a man without "people skills" or interest in much of anything else--not women, nor war not the dynastic dreams of men--only the Renaissance idea of utilizing one's abilities. He even pays attention to religion only because the world interests him, and he equates his heaven with what men can achieve--and Earth with the same sort of place he expects to find as an afterlife. Carol Reed directed and produced this fascinating look at the Renaissance, with its warrior priests, its worldly dreamers and its subtle change toward a politics of gunpowder, secular pursuits and worldly morality. Philp Dunne, author of "David and Bathsheba" wrote this thoughtful spectacle film as well. In the cast besides Heston are Rex Harrison as Pope Julius, close-fisted patron, admirer and nemesis, Harry Andrews as his rival Bramante, Diane Cilento as the woman who would like to love him, Alberto Lupo, Adolfo Celli, Fausto Tozzi and a narration by Marvin Miller.

The opportunity to see the real landscapes in which Michelangelo was born, worked and became inspired is a wonderful one for the viewer; the entire Carrara marble quarry section is stunningly beautiful. The film has battle scenes able done by Robert D. Webb, Leon Shamroy's cinematography, a prelude by Jerrald Goldsmith and sterling music by Alex North, production design by John Cuir and Jack Martin Smith and memorable costumes by Vittorio Nino Novarese. The basic thrust of the storyline is twofold; against the wars conducted by vigorous and all-too-worldly Pope Julius, the war to win secular hegemony for his Papal rule, the counter-current is Michelangelo's desire to further his career in Rome by obtaining a commission from the Pope. He does, an assignment to refurbish the Sistine Chapel for him. But after an attempt at some saints, he leaves Rome, and flees to his beloved Carrara. There, surrounded by mountains, he has a vision at sunset and suddenly knows what he must do.

Obtaining Julius's reluctant permission, he sets to work covering that modest ceiling with tremendous figures, a bearded Jehovah, a recumbent Adam touched to life by a divine spark, the world's most famous fresco painted from a homemade scaffolding; in spite of illness, missed meals, filth, deprivation, cold, an injury that nearly costs him his eye and more, including the Pope's indifference to his intense passion for his art, Michelangelo endures. "When will you make an end?" Julius cries. "When I have done," the artist insists. And at the end, Julius, beaten on the field of battle, admits he may also have been wrong about the ceiling...that his fostering of Michelangelo's work may be the most important thing he has ever done. Of course the puritans of the era object to the nakedness the artist has depicted, but Michelangelo says he painted people as God made them. The movie, based on the biography "The Agony and the Ecstacy" by Irving Stone here concentrates on a seminal moment in the great artist's career.

He may be a sculptor as he insists; but after seeing this moving and fascinating film, no one can doubt that he is also a stubborn and single-minded man--and a painter of genius. Most underrated; often fascinating fictionalized biography. Heston and Harrison are good, everyone else good as well. Worth seeing many times, if only for Dunne's dialogue and the scenery. Was the above review useful to you? 29 out of 38 people found the following review useful: Historical picture about two great figures Renaissance : Michael Angel and Julio II from Santander Spain 10 May 2005 The picture deals upon Michael Angel (Charlton Heston) who is working on the Carrara's marble creating sculptures and is ordered by Pope Julius II (Rex Harrison) the painting the Sistina chapel (thus called but was made by Pope Sisto) . Meanwhile , they'll develop a relationship with other Renaissance's important person .

The film is correctly based in historical deeds and famous personages , thus: Raphael( Tomas Milian) who appears painting the ¨Athenas's school¨, Bramante (Harry Andrews) author of the dome Vatican , Girlandaio and the Medicis Florencia's descendants (Diane Cilento and Adolfo Celi). Besides , the film paces itself the confrontation among the Julio II troops and the France and Germany army for the possession of the Pope's states . There are epic and impressive battles where the same Pope fights against enemies . The motion picture narrates specially the creation of the enormous paintings on the ceiling and the difficulties what Michael Angel is suffering to achieve the immortal legacy . The Pope Julio II also will assign him the realization of his tomb. The feature obtained a limited success and had a moderated box-office , it is nowadays better valued . Acting by two principal actors is first-range , both of whom are magnificent . However , Rex Harrison did not get along with Charlton Heston at all during filming ; twelve years later, while filming ¨Crossed swords¨ , he avoided him completely . Leon Shamroy cinematography is rousing , the colorful paintings are glowing and glittering reflecting Bible's scenes .

Alex North music is riveting (like ¨Spartacus¨ who he equally made). The sets are overwhelming and breathtaking , they were realized by John De Cuir as production designer . Carol Reed direction and production is excellent , he has got many experience with a long career and had directed other classics (The third man) . Rating: Very good, above average and well worth seeing. Was the above review useful to you? 32 out of 45 people found the following review useful: Purportedly a biography of Michelangelo, it turned out to be that of Pope Julius II from United States 28 January 2005 The movie is better than the book in the sense that it is kinder to Michelangelo. Remember that in the book there were hints of the artist's latent homosexuality to explain his lack of interest in women. In the movie, this is attributed to his dedication to his artistry. His greatest rival in the arts, Leonardo da Vinci also does not figure in the movie, but to no great loss as his presence would have needlessly complicated the plot. The movie portrays Pope Julius II, "the warrior Pope" in good light.

He took up the sword to finally bring an end to French interference in the papacy (cf. the "Babylonian Captivity" of the papacy in Avignon). And of course, despite the notorious division of Italy into city states, he struggled to free that country from foreign domination while keeping the papal states intact. Rome is correctly shown as a city in decay during the Middle Ages. It took Julius II to finally build a Basilica worthy to be the focus of world Christianity. His patronage of the arts and of grand architecture enabled Rome to justly keep the title "The Eternal City." In the end, Julius II may be judged as a competent monarch and in his way, a faithful priest who initiated many reforms to curb corruption among the clergy. Heston and Harrison, both great actors, brought out the best in one another as they gamely sparred in this immortal film - one as the driven and haunted artist, the other as the saturnine Pope fighting to preserve the temporal power of the papacy against all odds. Was the above review useful to you?

23 out of 30 people found the following review useful: Creating A Wonder from Buffalo, New York 17 May 2006 The Agony and the Ecstasy is the story of the creation of the Sistine Chapel Roof painting, the time and money it took while Pope Julius II was busy establishing his Papacy as a political force. Back in those days the Pope was far more than the head of the Roman Catholic Church. He ruled a considerable piece of real estate in the center of the Italian peninsula that were called the Papal States. They varied in geographic size depending on how relatively strong the Pope or his enemies were at a given time. The Papal States were the last independent entity to join a united Italy in 1870. The Borgias had been nibbling away at the Papal States for years and their triumph became complete when one of their's became Pope Alexander VI in 1491. When Giuliano Della Rovere became Julius II in 1503 succeeding Alexander VI he had it in mind to reclaim the states from the Borgias and their backer the French monarchy. Those are the folks you see Rex Harrison fighting at the beginning of the film.

In fact Harrison's identity as the warrior Pope is made clear right at the beginning of the film when after we see this figure on a white horse killing some foes in battle, he takes off his helmet and some attendees put his papal vestments right over his armor. But Julius II wanted to be known as a patron of the arts as well as the warrior Pope. His uncle Pope Sixtus VI had built the Sistine Chapel which is today the personal chapel of the papal residence. According to Wikipedia its dimensions are exactly what the Bible lays down as the dimensions King Solomon built his temple. But who knows what Solomon had decorating his roof. It's a big bare spot and who to fill it with something good. Julius II decided on Michelangelo Buonarrati who's got quite a resume of creativity to recommend him even though it's mostly sculpture. The film is the story of the creative differences between Michelangelo and Julius. Michelangelo is knowing he's created something for the ages, but he won't see the big picture of the here and now of Renaissance European politics which Julius II has to deal with. Sir Carol Reed directed The Agony and the Ecstasy and does a marvelous job of creating the look and atmosphere of the Renaissance in Italy.

Charlton Heston and Rex Harrison playing Michelangelo and the Pope give outstanding performances. If the film has a weakness is that it really is a two man show with no other characters developed in any way. The rest of the mostly Italian cast just serve as a crowd. If you're either a patron of the arts or a Catholic who would like to know how the Sistine Chapel acquired its legendary roof than by all means see The Agony and the Ecstasy. Was the above review useful to you? 22 out of 29 people found the following review useful: They don't come much more epic than this Author: sychonic 4 August 2002 When you think about it, making a movie about artistry is pretty hard. Painting, writing, sculpting, music, whatever, it's not easy to make the act very interesting--painting is painstaking, it takes a long time. But in this movie, they succeed. Not just making a movie, but making an epic, a massive movie out of an act of creation, is a tough thing to do. But they really do succeed.

At the heart of the movie isn't really the act of creation, or the passion for it, or even the ceiling itself--it's the adversarial relationship between Rex Harrison (Pope Julius II) and Charlton Heston (Michaelangelo). It's certainly not that passion and creation are not here, it's just that they enrich the story about two men and their relationship. When Julius comes into the chapel in the middle of the night, and Michaelangelo is invariably there, there's a bond, even with silent incipient tension. Heston is of course the only person for this role, as epics go, he's the best. For some reason he manages not to be overcome by the massive scale of these sorts of movies--something that happens to almost everyone else (look at Sinatra and Cary Grant in "the Pride and the Passion", they are totally lost in the grande scale, and they're the incomparable Grant and the larger than life Sinatra, not much more to be said there). Heston makes a solid tortured artist and Rex Harrison is quite wonderful as the Pope. He communicates the strength and intelligence of a Pope who loves art but must go to battle to preserve all that he holds dear.

There's a scene when the Pope wants people to see the half completed chapel, since he has grown impatient with the time and when Michaelangelo bitterly objects, Harrison explodes with anger--extremely effective. When Harrison passed, it was truly a loss to movies. There are flaws, no question, and it's not Heston's best work, course, once you've done Ben Hur and the Ten Commandments, nothing else is going to be your best work. The subplot with the sort of love interest is pretty silly, and it goes on a bit too long. The earnestness of the faith in the church, the sincerity of Heston when he says "Holiness" to the pope, a man that drives him crazy, is poignant. His faith is deep, almost as if he derives his love of art from a love of God. There are even some nice moments of levity as when a spattered Michaelangelo spits out a gob of paint and it lands near a watching Julius; or when the Pope creates a cardinal out of teen for payment in order to keep up the painting.

When it comes to big movies, this definitely lays with a handful of others that will never be surpassed--Titanic tried to be this kind of movie, and proves that even with $200 million and all the nifty gizmos of the modern age, it's very difficult to do; c'mon, Rex Harrison and Charlton Heston compared to Leo DeCaprio and Billy Zane--not much of a contest there. See the movie, forgive it its flaws and appreciate the richness and nuance of the relationship between Pope and Artist. Was the above review useful to you? 15 out of 20 people found the following review useful: excellent historical drama Author: Robert D. Ruplenas 3 November 2000 I would be more generous than Maltin was with this one. I watched it again recently on tape and my impression improved over my first viewing. The production values are sumptuous, and the construction of a 1:1 mockup of the Sistine Chapel by Dino deLaurentis is a story in itself, evidently.

Heston is pretty good as Michelangelo but is, I think, overshadowed by Harrison, who is just marvelous as Pope Julius (a previous commenter remarked on the historically inauthentic absence of his beard; in addition, Julius was too old & inform too ride a horse into battle, but insisted on leading while carried on a litter). The conflicted interplay between Julius & Michelangelo is the core of the film, of course, and the script does its job well in this regard, particularly in the closing dialogue. It is interesting, though, to see how the movie dances around the issue of Michelangelo's purported homosexuality. We are so much more frank today (not necessarily for the better), and one shudders to consider how a contemporary movie would treat this subject (not that there's a chance in hell of a major movie being made today on the subject of the creation of one of the masterworks of West's artistic inheritance). If any movie definitely needs the letterbox format to show it off at its best, it is this one, so watch for it on AMC where it is often shown that way. Was the above review useful to you? 8 out of 9 people found the following review useful: " If The Wine is sour, . .

. . throw it out ! from USA 26 July 2008 During the 16th century, many artists arrived in Rome to fulfill their dreams of earning a place in the "Book of Florence." Among the top five, two stand out with little or no further introduction, other than their names. Names which today personify the epitome of the Renaissance artists. The first is Leonardo de Vinci and the second is Michelangelo Buonarroti, (Charlton Heston). This film, "The Agony and The Extesy" is the story of the latter. Based on a novel by Irving Stone, it relates the clash of tempers between Pope Julius II (Rex Harrison) and the artist who claimed he was first and foremost a sculpturer. Through the turbulent years of Julius's reign, during which time he tried to unify the Papal States by force, he gave a most difficult, nay, nearly impossible commission to Buonarroti, to fresco the ceiling with some "Appropriate Design" for the Cistine Chappel, on his back, on a curved surface 70 feet in the air. The film illustrates the great suffering the artist endured for a commission he never asked for.

During the same time, the pope did his best to make a bid for immortality, by forcing the painter to do the impossible. The fact we are given Harry Andrews to play Bramante, who is the pope's architect and Adolfo Celi as Giovanni de Medici, adds to the film becomes history in the making. The movie itself is classic in nature and it's effect is breathtaking in it's climatic rendering. Excellance is the final gift. **** Was the above review useful to you? 9 out of 12 people found the following review useful: Harrison steals the show in an overblown movie with terrific sets 26 October 2011 The Agony and the Ecstasy (1965) Coming with the American rush to "love art" in the 1950s and 60s (including the famous visit of the real Mona Lisa to America by boat), "The Agony and the Ecstasy" is a touchstone of how to make a hero of an artist and make him or her human, too. That's the key, you know--the artist has to be ribald and earthy but also transcendent, almost beyond his knowing.

That's the flawed paradigm at work here. We learn nothing about how Michelangelo's art was made--how it was painted. Nor how it was devised or inspired--the image of God in the clouds doesn't cut it for me. And we actually learn nothing about the real man--Charlton Heston's interpretation is fair enough, I suppose, but it's really just the necessary cliché of a talented (handsome) man tossed around by forced bigger than him. What is supposed to drive the movie, and in a way saves it as a piece of entertainment, is the presence of the penny-pinching Pope, played by Rex Harrison (of "My Fair Lady" and "Julius Caesar" fame). His haranguing about the ceiling is blithe and fun. And Heston's complaining as he creates his masterpiece (with plaster dripping on his face--actually pudding in the shoot) is a foil for the Pope more than anything. Oddly, the Pope is a stronger character than the artist, and if history is at all right, we get the sense it was the other way around. What is terrific about the movie is the set--a replica of the Sistine Chapel in a nearby movie studio.

They gave them freedom to shoot it in all different phases of the painting, with and without scaffolding, night and day, and it's pretty marvelous to see it unfold in a way not so far from what must have been the truth. Another bit of truth snuck in during these last days of the Hays Code: when someone comes looking for Michelangelo in the whore house, the prostitute goes hysterical laughing because, of course, he would never be found there. The artist was gay, and the world knew it then and knows it now, and the filmmakers get a clever wink in. Another highlight is the incredible marble quarry in Carrara, a real place with what really is the best (seamless, pure, easily sculpted) marble in the world. Lucky it was nearby ancient and Renaissance Rome, both. Don't avoid this movie at all, but don't expect anything truly penetrating. It's aggrandizing, it's formulaic, it's well filmed, and Harrison is in great form. But director Carol Reed ("The Third Man") chickened out a bit in a chance to push the boundaries a little harder. Was the above review useful to you?

11 out of 16 people found the following review useful: One of Hestons best. from Winnipeg 19 October 2002 When will it be ready? When its done! This is a great portrayal of Michal Angelo. Heston's high water mark, and this is hard to out do. Even with the films age it does not look dated. Much better than other movies form this time period. This is a movie with a message. Rent it or even buy it. 8/10 Was the above review useful to you? Page 1 of 7: The Agony and the Ecstasy (1965) — The Movie Database (TMDb) When will you make an end? When I am finished! And so it be that that is the often repeated exchange between Rex Harrison's Pope Julius II & Charlton Heston's Michelangelo, and thus we have the basis for the film version of Irving Stone's novel The Agony & The Ectasy.

This is a fictionalised account of how Michelango came to paint his masterpiece on the roof of the Sistine chapel, focusing solely on the two main characters of the piece, The Agony & The Ectasy is a character and dialogue driven piece of work. I'm not here to give you a history lesson on the Renaisssance painters or the... read the rest .

Question: Who played Michelangelo in the 1965 film 'The Agony and the Ecstasy'?
Answer: Charlton Heston